Buddha Invoking Mother-Earth to be His Witness

This great master-piece cast in copper represents Buddha in 'Bhumisparsha-mudra', the moment when he touched mother Earth and invoked her to be the witness to the fact that he was able to outdo Evil. Conceived and cast in characteristic Tibetan style this statue of Buddha is a unique piece of art endowed with merit beyond description. The image is so powerful and vibrant that it captivates unnoticed the viewer's mind and transcends him into the realm of sublime spirituality. A feeling of meditative calm, sensitivity, luminosity and the determination of an enlightened mind reflect so powerfully on the face of the image. Besides, the great Tibetan iconography has attributed to the image unique lustre, finish and embellishment. Shirivasta, the Tibetan-patta or sash, and his other costume are not only richly embroidered in characteristic floral designs and designing patterns of Tibet but are also carved with auspicious symbols and astrological diagrams and graphics considered so sacred in Buddhist tradition and befit a spiritual icon.

In Buddhist tradition Buddha's 'Bhumisparsha-mudra' has exceptional significance and represents one of the classical modes of Buddhist iconography. The moment, which this image depicts, is a moment of life when beyond it is all light and behind it all dark. In the life of Buddha, too, this posture constitutes the exact central point between the darkness and light, between the ignorance and absolute knowledge. He was midway to his attainment of Enlightenment. Engaged in his long rigorous penance when Buddha was on the verge of attaining Enlightenment, Mara, the Evil personified, became active and attacked him. Armed with horror, fear, temptation, 'Kama' and beauty Mara invaded Buddha's mind. He tried on him all his weapons one after the other but nothing worked on him. Ultimately, there floated into sky a voice from horizon to horizon, which said, "Gautama, you are vanished". This was Mara's last weapon, the 'Confusion', with which he aimed at confounding Buddha. Buddha calmly lowered his right arm and touching the Mother Earth with his middle finger called the universal mother to witness that he did not astray from his path. Not much after Buddha had defeated Mara there emerged divine light and Buddha was Enlightened.

The pot in the left hand of the image is an extra-ordinary feature for Buddhist iconography. In Tibetan art the simple pot has been called 'bhumba' and the accomplished one, adorned with sash, coconut, flowers etc., the 'kalasha' type, is called 'phumpa'. 'Bhumba' is essentially a ritual artefact while 'phumpa' stands for abundance. It is considered to contain elixir of immortality and spiritual wealth. The pot which the image of Buddha carries in its hand is the 'bhumba' type. Hence, its ritual aspect has hardly any significance at the stage when Buddha was yet far off from attaining Enlightenment. It seems the artist has blended with Buddhist iconography the Hindu symbolism of pot. In Hindu tradition the pot stands for earth. Thus the artist has re-doubled Buddha's appeal to Mother earth. By the finger of his right hand he touched her and in the left he held her symbolically. Further, as the convention has it, a determination made or a pledge taken while the pot with water held in hand gains spiritual sanctity and greater force.

The aesthetic charm of the icon is as much unique. The small cute lips, angularity of face, sharpness of features and shaded eyes are the qualities which have always remained the distinctive features of great Indian bronzes of Gupta, Pala and Chola periods. An exceptional kind of luminosity, spirituality and tenderness combined with as strong sensuousness marks the physiognomy of the image. The image has been installed on 'pitha' consisting of multiple lotuses. Hair in tight curls, surmounted by an inverted pot type finial and broad forehead are features common to various styles of Buddhist iconography. In drapery, however, - the rich 'Shirivasta', with sacred diagram, over the left shoulder and 'dhoti' covering the left half of his person and trailing on the seat around him, the image of the Buddha is strictly Tibetan and essentially votive in its rendering.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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Delivered by to all international destinations within 3 to 5 days, fully insured.

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Of Related Interest:

Buddha Invoking Mother-Earth to be His Witness (Bronze Sculpture)

Buddha in the Earth-Touching Gesture (bhumi-sparsha mudra) (Copper Sculpture gilded with 24 Karat Gold)

Bhumisparsha Buddha (Kaima Wood Sculpture)

Shakyamuni Buddha in the Earth-Witness Gesture (Bhumisparsha) (Sterling Silver Finger Ring)

Spiritual Victory (Brass Statue)